Suddenly Last Summer

Template:Use mdy dates Template:Short description Template:About Template:More citations needed Template:Infobox play Suddenly Last Summer is a one-act play by Tennessee Williams, written in New York in 1957.<ref>Template:Cite book</ref> It opened off Broadway on January 7, 1958, as part of a double bill with another of Williams' one-acts, Something Unspoken (written in London in 1951).<ref name="Devlin86"/>Template:Rp The presentation of the two plays was given the overall title Garden District, but Suddenly Last Summer is now more often performed alone.<ref name="Kolin132-133">Template:Cite book</ref> Williams said he thought the play "perhaps the most poetic" he had written,<ref name="Devlin86">Template:Cite bookTemplate:ISBN</ref>Template:Rp and Harold Bloom ranks it among the best examples of the playwright's lyricism.<ref name="Bloom3">Template:Cite book</ref>

Plot

In 1936, in the Garden District of New Orleans,Template:Efn Mrs. Violet Venable, an elderly socialite widow from a prominent local family, has invited a doctor to her home. She talks nostalgically about her son Sebastian, a poet who died under mysterious circumstances in Spain the previous summer.Template:Efn During the course of their conversation, she offers to make a generous donation to support the doctor's psychiatric research if he will perform a lobotomy on Catharine, her niece, who has been confined to St. Mary, a private mental institution, at her expense since returning to America.<ref name=Williams_1957/>Template:Rp Mrs. Venable is eager to "make her peaceful" once and for all by erasing her memories of Sebastian's violent death and his homosexuality; Mrs. Venable is especially adamant that Catharine stop talking about the latter, in order to preserve her late son's reputation.<ref name=Williams_1957/>Template:Rp

Catharine arrives, followed by her mother and brother. They are also eager to suppress her version of events, since Mrs. Venable is threatening to keep Sebastian's will in probate until she is satisfied, something Catharine's family can't afford to challenge.<ref name=Williams_1957/>Template:Rp But the doctor injects Catharine with a truth serum and she proceeds to give a scandalous account of Sebastian's moral dissolution and the events leading up to his death, how he used her to procure young men for his sexual exploitation,<ref name=Williams_1957/>Template:Rp and how he was set upon, mutilated, and partially devoured by a mob of starving children in the street. Mrs. Venable lunges at Catharine but is prevented from striking her with her cane. She is taken off stage, screaming "cut this hideous story from her brain!" Far from being convinced of Catharine's insanity, however, the doctor concludes the play by stating he believes her story could be true.<ref name=Williams_1957/>Template:Rp

Analysis

From its first page, the script is rich in symbolic detail open to many interpretations.<ref name=Williams_1957/>Template:Rp The "mansion of Victorian Gothic style" immediately connects the play with Southern Gothic literature, with which it shares many characteristics.<ref name=Gross_1995>Template:Cite journal</ref>Template:Rp Sebastian's "jungle-garden," with its "violent" colours and noises of "beasts, serpents, and birds ... of savage nature" introduces the images of predation that punctuate much of the play's dialogue.Template:Efn These have been interpreted variously as implying the violence latent in Sebastian himself;<ref name="jungleroel">Template:Cite book</ref> depicting modernity's vain attempts to "contain" its atavistic impulses;<ref name="junglefielder">Template:Cite book</ref> and standing for a bleak "Darwinian" vision of the world, equating "the primeval past and the ostensibly civilised present."Template:Efn

The Venus flytrap mentioned in the play's opening speech can be read as portraying Sebastian as the "pampered" son,<ref name=Sofer_1995>Template:Cite journal</ref>Template:Rp or "hungry for flesh";Template:Efn as portraying the "seductive deadliness" concealed beneath Mrs. Venable's "civilized veneer,"<ref name=Thompson_1987/>Template:Rp while she "clings desperately to life" in her "hothouse" home;<ref name="flytrapviolet2">Template:Cite journal</ref> as a joint "metaphor for Violet and Sebastian, who consume and destroy the people around them";<ref name="flytrapboth">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> as symbolising nature's cruelty, like the "flesh-eating birds" of the Galapagos;<ref name="flytrapcruel">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> as symbolising "a primitive state of desire,"<ref name="flytrapdesire">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and so on.

Williams referred to symbols as "the natural language of drama"<ref name=Devlin86/>Template:Rp and "the purest language of plays."<ref name="symbols2">Template:Cite book</ref> The ambiguity arising from the abundance of symbolism is therefore not unfamiliar to his audiences. What poses a unique difficulty to critics of Suddenly Last Summer is the absence of its protagonist.<ref name=Sofer_1995/>Template:Rp All we can know of Sebastian must be gleaned from the conflicting accounts given by two characters of questionable sanity, leaving him "a figure of unresolvable contradiction."<ref name=Gross_1995/>Template:Rp

In spite of its difficulties, however, the play's recurrent images of predation and cannibalismTemplate:Efn point to Catharine's cynical pronouncement as key to understanding the playwright's intentions: "we all use each other," she says in Scene 4, "and that's what we think of as love."<ref name=Williams_1957/>Template:Rp Accordingly, Williams commented on a number of occasions that Sebastian's death was intended to show how:

Man devours man in a metaphorical sense. He feeds upon his fellow creatures, without the excuse of animals. Animals actually do it for survival, out of hunger ... I use that metaphor [of cannibalism] to express my repulsion with this characteristic of man, the way people use each other without conscience ... people devour each other.<ref name=Devlin86/>Template:Rp

Productions and Adaptations

1958 original New York production

The first production of the play was performed off-Broadway, starting on January 7, 1958. Produced alongside Something Unspoken under the collective title Garden District, it was staged by the York Playhouse company at the York Theatre on First Avenue in New York. Anne Meacham won an Obie Award (Annual Off-Broadway Theatre Awards) for her performance as Catherine. The production also featured Hortense Alden as Mrs. Venable, Robert Lansing as Dr. Cukrowicz, Eleanor Phelps as Mrs. Holly and Alan Mixon as George Holly, and was directed by Herbert Machiz, with the set designed by Robert Soule and costumes by Stanley Simmons. Incidental music was by Ned Rorem.<ref>Template:Cite book</ref>

1958 original London production

The play's London debut was presented, under club conditions, at the Arts Theatre on September 16, 1958, running until October 11. (The venue, though situated in the West End, was a club and therefore not technically a West End theatre.) Directed, like the off Broadway production, by Herbert Machiz, it was coupled once again with Something Unspoken, with the cast headed by Patricia Neal as Catherine, Beatrix Lehmann as Mrs. Venable and David Cameron as Dr Cukrowicz. The set was by Stanley Moore, the costumes by Michael Ellis, and the music by Ned Rorem.<ref>'Tennessee Williams - Leucotomy, Cannibalism', The Stage, September 18, 1958, p. 11.</ref>

1959 film

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} The film version was released by Columbia Pictures in 1959, starring Elizabeth Taylor, Katharine Hepburn and Montgomery Clift; it was directed by Joseph L. Mankiewicz from a screenplay by Gore Vidal and Williams. The movie differs greatly from the stage version, adding many scenes, characters and subplots. The Hollywood Production Code forced the filmmakers to cut out the explicit references to homosexuality. The film received three Academy Award nominations: Hepburn and Taylor were both nominated for Best Actress in a Leading Role, and it was also up for Best Art Direction-Set Decoration, Black-and-White.

1993 BBC TV play

Template:Anchor The play was adapted for BBC Television in 1993 under the direction of Royal National Theatre head Richard Eyre and starring Maggie Smith, Rob Lowe, Richard E. Grant and Natasha Richardson. It aired in the United States on PBS as an episode of Great Performances.<ref name="NYMag1993"> Template:Cite magazine</ref> Smith was nominated for an Emmy Award for Outstanding Actress in a Miniseries or TV Movie.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> According to Lowe, his personal driver during production was also the personal driver for Montgomery Clift on the 1959 film.<ref>Template:Cite news</ref>

1995 Broadway debut

The play made its Broadway debut in 1995. It was performed together with Something Unspoken, the other one-act play that it originally appeared with under the title Garden District. It was presented by the Circle in the Square Theatre. The cast included Elizabeth Ashley, Victor Slezak and Celia Weston.<ref>Template:Cite book</ref>

1999 West End debut

The play debuted in the West End in 1999 at the Comedy Theatre, London, starring Sheila Gish as Mrs. Venable, Rachel Weisz as Catharine, Gerard Butler as Dr. Cukrowicz and directed by Sean Mathias.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

2004 West End revival

Michael Grandage directed a 2004 production at the Lyceum Theatre, Sheffield, featuring Diana Rigg as Mrs. Venable and Victoria Hamilton as Catherine. The production toured nationally before transferring to the Albery Theatre, London.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The production received enthusiastic reviews,<ref name="LondonTheatre">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Hamilton won the Evening Standard Theatre Award for Best Actress for her performance.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

2006 off-Broadway

An off-Broadway production in 2006 by the Roundabout Theatre Company starred Blythe Danner, Gale Harold and Carla Gugino.<ref>Template:Cite book</ref>

2015 Sydney Theatre Company

The play was part of the Sydney Theatre Company's 2015 season. Director Kip Williams blended live camerawork with traditional stagecraft in a production starring Eryn Jean Norvill as Catherine and Robyn Nevin as Venable.<ref name="KW1">Template:Cite magazine</ref> The production received three nominations at the 2015 Helpmann Awards, with Nevin nominated for Best Actress, the production nominated for Best Play, and Williams winning for Best Director.

2017 Théâtre de l'Odéon, Paris

A French translation of the play was staged at the Théâtre de l'Odéon in March-April 2017. Stéphane Braunschweig directed Luce Mouchel as Mrs. Venable, Marie Rémond as Catherine, Jean-Baptiste Anoumon as Dr. Cukrowicz, Océane Cairaty as Miss Foxhill, Virginie Colemyn as Mrs. Holly, Glenn Marausse as George, and Boutaïna El Fekkak as Sœur Félicité.

See also

• List of one-act plays by Tennessee Williams

External links

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